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Arnold Victor Coonin Professional: Personal: Rhodes College Art Dept. 675 N Idlewild Street 2000 N. Parkway Memphis, TN 38107 Memphis, TN 38112 (901) 272-0910 901-843-3833 cell: (901) 262-5424 [email protected] [email protected] Education Ph.D., Rutgers University, 1995 Dissertation: The Sculpture of Desiderio da Settignano M.A., Syracuse University, 1990 B.A., Oberlin College, 1986 Employment Rhodes College, 1995-present James F. Ruffin Chair of Art, 2011-2017 Chair, Art Department, 1998-2001; 2002-2012 Full Professor, 2020-present Associate Professor, 2001-2020 Assistant Professor, 1995-2001 Grants, Awards and Honors Hill Grant for Curriculum Development, Course title: Chemistry and Art, Rhodes College, 2018 [co-recipient] The James F. Ruffin Chair of Art, Rhodes College, 2011-2017 Faculty Development Grant, Rhodes College, 2010 Faculty Development Grant, Rhodes College, 2008 Andrew W. Mellon Foundation, 2005 “Views of Venice: From Canaletto to the Camera,” A Faculty Career Enhancement Initiative (Inter-Institutional) Grant [co-recipient] Samuel H. Kress Foundation, 2002-2003 Old Masters in Context: Romanino’s Mystic Marriage of Saint Catherine. In conjunction with the Memphis Brooks Museum of Art, grant awarded for exhibition, symposium and publication. Faculty Development Endowment Grant, Rhodes College, 1999 Faculty Development Endowment Grant, Rhodes College, 1997 Fulbright Fellowship, Florence Italy, 1994-95 Samuel H. Kress Grant, Florence Italy, 1993 Berendson Award, Rutgers University, Best Graduate Paper, 1991 Graduate Scholar and Russell Fellow, Rutgers University, 1990-92 University Fellow, Syracuse University, 1989-90 Publications Books Donatello and the Dawn of Renaissance Art, London, Reaktion Press (USA distribution by the University of Chicago Press), 2019. [See review in Choice Magazine, 2020] From Marble to Flesh: The Biography of Michelangelo’s David Florence, The Florentine Press, 2014. [See reviews in Choice Magazine, February, 2015; Notes on Early Modern Art, vol. 2, no. 2, 2015, pp. 36-39; Italian Art Society Newsletter, XXVII, 2, Spring 2016, pp. 6-7; referenced in The New York Times, August 17, 2016; Sixteenth Century Journal, 47, 4, 2016, pp. 1067-1068.] Co-editor (with Molly Bourne), Encountering the Renaissance: Celebrating Gary M. Radke and 50 Years of the Syracuse University Graduate Program in Renaissance Art, Woodcliff Lake, NJ, WAPACC Organization, 2016. Co-editor (with Lilian Zirpolo), Vanishing Boundaries: Scientific Knowledge and Art Production in the Early Modern Era, Woodcliff Lake, NJ, WAPACC Organization, 2015. Editor, A Scarlet Renaissance: Essays in Honor of Sarah McHam New York, Italica Press, 2013. Editor, Old Masters in Context: Romanino’s Mystic Marriage of Saint Catherine Exhibition Catalogue, Memphis, Memphis Brooks Museum of Art, 2003. Studies in Progress “Memorializing Michelangelo: A Catalogue of Commemorative Medals from the Sixteenth Century to the Present” [ongoing online catalogue of Medals commemorating Michelangelo] “Michelangelo and the Medallic Arts: From the 19th century to the Present” “Donatello and the Choreography of the Eye” “A Brief Note on the Siries Medal for the Florence Accademia delle Belle Arti” “Michelangelo’s Name” Published Articles “Beyond the Binary: Michelangelo, Tommaso de’ Cavalieri, and a Drawing at Windsor Castle,” Artibus et Historiae, 28, 2018, pp. 255-266. “Altered Identities in the Portinari Altarpiece,” Source: Notes in the History of Art, 36, 1, Fall 2016, pp. 4-15. “Bellotto’s Blunder and Michelangelo’s David,” Source: Notes in the History of Art, 35, 3, Spring 2016, pp. 250-257. “How the Giant of Florence became Michelangelo’s David,” Encountering the Renaissance: Celebrating Gary M. Radke and 50 Years of the Syracuse University Graduate Program in Renaissance Art, Woodcliff Lake, NJ, WAPACC Organization, 2016, pp. 115-124. “Art and Science in the Early Modern Period: An Introduction to Vanishing Boundaries,” Vanishing Boundaries: Scientific Knowledge and Art Production in the Early Modern Era, Woodcliff Lake, NJ, WAPACC Organization, 2015, pp. xiii- xxvii. “The Spirit of Water: Reconsidering the Putto Mictans Sculpture in Renaissance Florence,” in A Scarlett Renaissance: Essays in Honor of Sarah McHam, ed. A. Victor Coonin, New York, Italica Press, 2013, pp. 81-110. “Donatello, Desiderio da Settignano, and the Martelli” in Desiderio da Settignano, eds. J. Connors, A. Nova, B. Paolozzi Strozzi, and G. Wolf, Venice, Italy, Kunsthistorisches Institut in Florenz-Max-Planck-Institut and Villa I Tatti, The Harvard University Center for Italian Renaissance Studies, 2011, pp. 43-60. “Dedicated Spaces: An Introduction to Tuscan Chapels,” in Chapels of Italy From The Twelfth to The Eighteenth Centuries: Art, Religion, Patronage, and Identity, ed. Lilian H. Zirpolo, Woodcliff Lake, NJ, WAPACC Organization, 2010, pp. 129-154. “The Most Elusive Woman in Renaissance Art: A Portrait of Marietta Strozzi,” Artibus et Historiae, 59, XXX, 2009, pp. 41-64. “Vittorio Ghiberti and the frame of the South Doors of the Florence Baptistery,” Sculpture Journal, 18.1, 2009, pp. 38-51. “Dopo Lorenzo: On the Ghiberti Family Workshop,” Italian Art, Society, and Politics: A Festschrift for Rab Hatfield, ed. Barbara Daimling, Jonathan K. Nelson, and Gary M. Radke, Florence, Syracuse University Press, 2007, pp. 83- 98. “The Allure of Romanino’s Mystic Marriage of Saint Catherine,” Old Masters in Context: Romanino’s Mystic Marriage of Saint Catherine, Exhibition Catalogue, Memphis, Memphis Brooks Museum of Art, 2003, 1-13. “The Interaction of Painting and Sculpture in the Art of Perugino” Artibus et Historiae, 47, 2003, 103-120. “New Documents Concerning Perugino's Workshop in Florence,” Burlington Magazine, CXLI, 1999, 100-104. “Picturing St Francis: An Introduction to His Image in Art,” The Brooks Museum Bulletin: Essays on the Collection, III, Memphis, Memphis Brooks Museum of Art, 1999. “Desiderio da Settignano's Tabernacle of the Sacrament,” by Andrew Butterfield and Caroline Elam, with a contribution from Victor Coonin, Mitteilungen des Kunsthistorischen Institutes in Florenz, 43, 2/3, 1999, 333-357. “Sacred Art in Private Space: Examples from the Kress Collection,” The Brooks Museum Bulletin: Essays on the Collection, II, Memphis, Memphis Brooks Museum of Art, 1996, 19-23. “New Documents Concerning Desiderio da Settignano and Annalena Malatesta,” Burlington Magazine, CXXXVII, 1995, 792-799. "Portrait Busts of Children in Quattrocento Florence," Metropolitan Museum Journal, XXX, 1995, 61-71. "An Interview with Donald Posner," Rutgers Art Review, 12/13, 1992, 89-102. "Eleonora di Toledo and Bronzino," Syracuse University Florence Symposium Papers, II, 1989-90. Encyclopedia and Catalogue Entries “Flora,” “Jephthah and His Daughter,” “Christ Surrounded by Angels (The Resurrection),” “The Finding of Moses,” “The Last Supper,” “The Battle of the Lapiths and Centaurs,” by Sebastiano Ricci, in Venice in the Age of Canaletto, The John and Mable Ringling Museum of Art and Memphis Brooks Museum of Art, Memphis, 2010. “Angela Merici,” Great Lives from History: 1454-1600, Pasadena, CA, Salem Press, 2004. “Michelangelo paints the Sistine Chapel,” Great Events from History: 1454-1600, Pasadena, CA, Salem Press, 2004. “Relief with Putto,” Masterpieces of Renaissance Art: Eight Rediscoveries, exh. cat., Salander O’Reilly Galleries, New York, 2001. Reprinted in Italian Sculpture from the Gothic to the Baroque, New York, 2002. “Desiderio da Settignano” and “Desiderio da Settignano: Tomb of Carlo Marsuppini” in The Encyclopedia of Sculpture, Antonia Boström, ed., Fitzroy Dearborn Publishers, Chicago, 2001. “Andrea Pisano,” “Giovanni Pisano,” “Nicola Pisano,” “Andrea della Robbia,” “Giovanni della Robbia,” “Luca della Robbia,” “Jacopo della Quercia,” “Lorenzo Ghiberti,” “Michelozzo di Bartolomeo,” “Benedetto da Maiano,” “Mino da Fiesole,” “Rossellino, Antonio and Bernardo,” “Desiderio da Settignano,” “Francesco di Giorgio Martini,” “Bertoldo di Giovanni,” “Lombardo Family,” “Daniele da Volterra,” Encyclopedia Americana, 2000. Book and Exhibition Reviews (excluding Choice) “Antico: The Golden Age of Renaissance Bronzes,” Review essay in The Sculpture Journal, Vol. 22, No. 1 , June 1, 2013. “An Antiquity of Imagination: Tullio Lombardo and Venetian High Renaissance Sculpture,” Review essay in The Sculpture Journal 19.1, 2010, pp. 152- 154. “Desiderio da Settignano: Sculptor of Renaissance Florence,” Exhibition Review, Musée du Louvre, Museo Nazionale del Bargello, National Gallery of Art, Italian Art Society Newsletter, Fall 2007, pp. 3-4. Commissioned review of The Art of Renaissance Italy, 1400 to 1600, McGraw- Hill, publishers, 2005. Commissioned review for Prentice Hall for revised edition of James Snyder, Medieval Art, Englewood Cliffs, NJ, 1989. 2004. Giovanni Ciappelli and Patricia Lee Rubin, editors, Art, Memory, and Family in Renaissance Florence, Cambridge, 2000,” in CAA.Reviews, 2001. Commissioned review for Prentice Hall of Greek Art and Archaeology, by J.G. Pedley, 2nd ed., Upper Saddle River, NJ, 1998. 2000. Alison Luchs, Tullio Lombardo and Ideal Portrait Sculpture in Renaissance Venice, 1490-1530, Cambridge, 1995,” in Renaissance Quarterly, LI, 1998, 622-624. Book Reviews for Choice: Current reviews for Academic Libraries; A publication of the Association of College and Research Libraries, a division of the American Library Association Jennifer P Nelson, Disharmony of the spheres: the Europe of Holbein's Ambassadors, Penn State Press, 2019. Choice, 2019. Verrocchio:
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  • Lorenzo Ghiberti, Gates of Paradise (East Doors), Baptistry of San Giovanni, Florence, 1425–52

    Lorenzo Ghiberti, Gates of Paradise (East Doors), Baptistry of San Giovanni, Florence, 1425–52

    Lorenzo Ghiberti, Gates of Paradise (East Doors), Baptistry of San Giovanni, Florence, 1425–52 Florence Baptistery, constructed between 1059 and 1128 -renowned for its three sets of bronze doors with relief sculptures (south doors created by Andrea Pisano; north and east doors by Lorenzo Ghiberti) Figure from the 1804 edition of De Pictura (1435) of Leon Battista Alberti, showing the vanishing point Alberti’s treatise was the first surviving European treatise on painting. Book I is a geometry of perspective. Book II describes the good painting. Book III discusses the education and life-style of the artist “Masaccio in painting “Masaccio was a very expressed the likeness of good imitator of everything in nature so well nature, with great and that with our eyes we seemed comprehensive to see not the images of rilievo, a good things but things componitore and puro, themselves.” without ornato, because he devoted himself only to the Alamanno Rinuccini, 1472 imitation of truth and to the rilievo of his figures.” Cristoforo Landino, 1481 Masaccio, The Holy Trinity, 1427. Santa Maria Novella Church, Florence Interior of the Brancacci Chapel, Church of Santa Maria del Carmine, Florence. Frescoes by Masaccio and Masolino (c. 1423–28) and Filippino Lippi (c. 1482–84) Masaccio. Tribute Money, fresco in the Brancacci Chapel, c. 1427. (2.3x 6 m) “And since he had excellent judgment, he reflected that all the figures that did not stand firmly with their feet in foreshortening on the level, but stood on tip-toe, were lacking in all goodness of manner in the essential points, and that those who make them thus show that they do not understand foreshortening.” Vasari, Lives of Artists Raphael, Madonna of the Meadows, 1505–6, The Annunciation to the Shepherds, Cotton Kunsthistorisches Museum, Vienna MS Caligula A VII/1, fol.